From: Lukas Werth (lukas.werth@rz.hu-berlin.de)
Date: 07/25/01-02:38:20 AM Z
I think it would be very difficult to grind privately collected
earth/clay/stones from open sites fine enough, or get it pure enough to
produce usable pigments. Also, the powder may have a quite different colour
from that of the geological formations from which it was collected. Some
pigments used by painters have also, as far as I can see, too little
covering power to be of much use for colloid processes.
But I have another question: there are warnings in the literature against
the use of chomeoxyde colours (greens). Why should they be avoided, because
of reactions with the dichromate? And, has anybody used such colours with
success? I quite like some shade of these pigments, and would like to try
them.
Lukas
At 21:33 24.07.01 -0600, you wrote:
>Hello Sandy,
>
>I've only used the commonly available dry artists pigments, made by Winsor
>Newton, Sennelier, BlockX, and Old Holland. I've never used actual
>minerals/sandstone collected from Utah. That possibility sounds quite
>interesting. I've often looked at the Moenkopi formation near Moab thinking
>that it would make the ultimate 'Indian Red'.
>
>Dave in Wyoming
>
>----- Original Message -----
>From: "Sandy King" <sanking@clemson.edu>
>To: <alt-photo-process-l@sask.usask.ca>
>Sent: Tuesday, July 24, 2001 8:29 AM
>Subject: Re: making casein (Earth Pigments)
>
>
>> Dave,
>>
>> I was fascinated by the Indian rock art in Utah and made many
>> negatives of both petroglyphs and pictographs with my 5X7 and 12X20
>> camera while there this summer. My intention is to make special
>> pigment tissue for carbon printing that utilizes the materials used
>> to paint the pictographs, i.e, the raw umbers of the region. I
>> brought back lots of earth from the area that I will use to make
>> pigment but just wondering if you have any specific connections to
>> commercial artist pigments that may be available that are made from
>> regional "earths" as their base?
>>
>>
>> Sandy King
>
>
>
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